Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - Počet stran: 272 During the past twenty years or so, Othello has become the Shakespearean tragedy that speaks most powerfully to our contemporary concerns. Focusing on race and gender (and on class, ethnicity, sexuality, and nationality), the play talks about what audiences want to talk about. Yet at the same time, as refracted through Iago, it forces us to hear what we do not want to hear; like the characters in the play, we become trapped in our own prejudicial malice and guilt. |
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Strana 5
... Othello's understanding but almost everyone else's as well ? Brabantio , Iago's first victim , feels defenseless against Iago's suggestions : " This accident is not unlike my dream , / Belief of it op- presses me already " ( 1.1.140-141 ) ...
... Othello's understanding but almost everyone else's as well ? Brabantio , Iago's first victim , feels defenseless against Iago's suggestions : " This accident is not unlike my dream , / Belief of it op- presses me already " ( 1.1.140-141 ) ...
Strana 6
... Othello and its interpretive traditions . If critical re- flection on the play winds up reproducing the malignancy it seeks to repudiate , then we can say that the play is so deeply embedded in its interpretive traditions that ...
... Othello and its interpretive traditions . If critical re- flection on the play winds up reproducing the malignancy it seeks to repudiate , then we can say that the play is so deeply embedded in its interpretive traditions that ...
Strana 8
... Othello is not unique to our time . Trying to account for " the peculiarity of Othello " as " the most painfully exciting and the most terrible " of Shake- speare's tragedies , Bradley pointed to the way our " heart and mind are held in ...
... Othello is not unique to our time . Trying to account for " the peculiarity of Othello " as " the most painfully exciting and the most terrible " of Shake- speare's tragedies , Bradley pointed to the way our " heart and mind are held in ...
Strana 9
... Othello and racial questions are inseparable , I think ( though not everyone thinks so , and until around 1800 it seems almost nobody thought so ) , but I'm less interested in Othello as a document in the history of racial relations ...
... Othello and racial questions are inseparable , I think ( though not everyone thinks so , and until around 1800 it seems almost nobody thought so ) , but I'm less interested in Othello as a document in the history of racial relations ...
Strana 11
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Obsah
Othello in Theatrical and Critical History | 11 |
Disconfinuation | 30 |
lago | 53 |
The Fall of Othello | 79 |
The Pity Act | 113 |
Death without Transfiguration | 141 |
Interpretation as Contamination | 169 |
Character Endures | 183 |
Notes | 193 |
Works Cited | 231 |
247 | |
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acknowledge action Actors anxiety audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's Cambridge University Press Carlisle Cassio century character claim Coleridge Coleridge's commentary contemporary context critical cultural Cyprus demona Desdemona desire devil dramatic earlier echoes Edwin Booth effect Emilia emphasis Empson essay evoke Fechter feel gender Hamlet Hankey Honigmann Iago Iago's idea identity imagination interest interpretive traditions King Lear lago Lear Leavis literary London marriage meaning Michael Neill modern Moor murder nature Neill Newman nineteenth nineteenth-century nonetheless norms original Othello Othello and Desdemona passage Patrick Stewart performance perhaps pharmakos play play's production protagonist question quoted racial Ralph Crane remarks Renaissance response Ridley Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests Temptation Scene textual Theatre theatrical thing tion tragic Tynan villain whore women words